Showing posts with label Ernest Hemingway writing characters. Show all posts
Showing posts with label Ernest Hemingway writing characters. Show all posts

Wednesday, August 10, 2011

Building Bare-Naked Suspense

Think about your favorite thriller. 
What was it that made you catch your breath? What was it that kept you awake at night, nervously peeking over your pillow at the slightest creak in the floorboards? Was it a monster, a ghost, a serial killer? Or was it the writing style?

I’d like to think that one could create a suspenseful situation without a dark entity or supernatural element.

But what fun would that be? We like being scared because it gets our heart rate up, saving us from sweaty, labor-intensive exercise; a completely unnecessary activity for one who keeps a titillating, suspense-filled book handy at all times. Besides, ghosts have always done a great job of stimulating our fears because you never really know if there’s one residing in your house, roaming the halls late at night.

But you know, if we grew dependent on ghosts, specters, phantoms and evil spirits, we’d miss out on the pure, literary art in creating suspense out of thin air; what I call, bare-naked suspense.

Therefore, out of respect for the many ways one can scare, frighten, petrify, terrorize and otherwise put the fear of God into one’s heart, I would like to invite you to join me in the process of titillation, by creating a brief moment of suspense in this snippet of flash fiction.

I wrote this for you; a bare-naked suspense. I hope you enjoy it…


Murdoch’s Eyes

Sand filtered through Gina’s toes as she sprinted across the powdery granules. Her dress danced across her thighs and her heart beat rapidly. The crash of the waves, the tidal winds and salty air confused her mind. These were supposed to be the sounds of relaxation, not distress.

Murdoch had acted rather awkward, she thought. No, freaky was a better word. She had to get out of there. He went to the kitchen to get her a drink and she didn’t waste a minute. Gina darted out of the condo, leaving the party without saying a word to anyone. She slipped out the back door, onto the deck and down the spiral staircase.

When her heels hit the sand, she pulled her shoes off and started running. She could feel his anger brewing, burning like red-hot coals. He’d sensed her rejection and she knew it.

When he returned, she was gone. He sat Gina’s sex-on-the-beach on the coffee table and began searching through the crowd of partiers.

Gina could feel Murdoch’s eyes seeking her, heating up, fists clenching. 

She could see her car through the beach grass, parked on the side of the road. Her legs strained up the sandy hill. Her breath grew heavy, her hair disheveled, curls straightening.

She gripped the handle. Pull. Locked. “No!”

“The damn thing’s locked-not now-not today!”

Mudoch’s eyes burned into her brain-green maniacal things staring into her subconscious, transcendentally finding her with his metaphysical GPS system. He squinted, working his thoughts into hers, breathing methodically like an artificial respirator. He blocked out the music and voices and clanging glasses, focusing only on Gina-his Gina.

Panic filled every cell of her body.

Laughter shot from his brain to hers.

She knew he had found her; the shiver down her spine had told her so. Sweat beaded on her forehead. A blonde strand of hair stuck to her lips. She called out, hands trembling, whispering her fears to no one but herself.

“My God, who is this guy? What’s he doing to me?”

She could see him staring. She could hear him breathing.

“My keys!”

 She dug through her purse. Nothing. She dumped the contents on the side of the road, rummaging through receipts and lipsticks, but the keys were not there. Did I leave them at the house, she wondered? Her shoulders sank as a feeling of hopelessness fell heavy upon her. 

Murdoch reached into his pants pocket, grabbed her keychain and began twirling it between his fingers. He watched the keys dance, delighted, smirking as the green windows to his soul led Gina back.

The End

 Jeff Bennington
Author of Reunion

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Monday, May 30, 2011

The Writer's Law of Attachment

Writer's Law of Attachment
By Jeff Bennington
Author of Reunion and other thrillers

If you follow The Writing Bomb, you know that I’ve just recently completed a 45-day blog tour followed by a trip to Washington D.C and New York City. Both events were exciting but absolutely wore me out. The kids had a chance to see the nations Capital and much of NYC and I had a chance to rest my brain. 

I resumed writing this past week and man do I miss it! I wrote a little during the blog tour, but not enough. And now, after being away from my latest work for over a month, I’ve had the pleasure of reacquainting myself with my characters, those good friends that I’ve learned to love. In doing so, I’ve been thinking about what it means to become attached to a character, those figments of my imagination. I’ve been wondering if it’s okay to befriend them or if I should keep a healthy emotional distance. If you have any thoughts on this subject I’d love to hear it.

In the meantime, what I’ve found is that the more I dive into the lives of my characters, the more real they become. And the more real they become, the more I want to know and understand who they are and where they’ve been. This isn’t a concept that I dwell upon. I’m crashing into this idea because I’m working on a third draft and I’m filling in details and backstory and critical thoughts that are rounding my make-believe friends.

Ernest Hemingway
You see, it’s my character's strengths that get them through the story. But it’s their weaknesses that draw me to them. Ernest Hemingway once said, "When writing a novel a writer should create living people; people not characters." Adding personality glitches is what makes them real. Flaws are what make us people rather than characters. I should know, I have plenty of glitches, plenty of defects and I’m real. I find it quite ironic that as much as I hate my faults, I love the faults of my characters, the people in my stories. Sick, I know, but I think that’s the magic of literature. There’s something very intimate about learning about the faults of others. That’s the difference between a stranger and a friend. A stranger doesn’t know jack about me, but a true friend knows everything. As an author, I feel like it’s my responsibility to share the truth about my characters so my readers can be their friends. 

The question is, is it wrong to grow attached to these people in the process? And that’s where I’m stuck. I write stories about people that don’t exist. They’re not real. They’re fictional but they’re meant to come alive. And if they’re meant to seem real to a reader than I think it’s okay for me to get emotionally attached. It’s what gets me into the story. In my opinion, attachment is what makes the author capable of transmitting an idea into something palpable. Attachment is what allows me to enter the mind of a protagonist and think and live on his or her behalf. I call it the Law of Attachment: A reader will relate to the people in a story to the degree that the author has grown attached to those people.

If you’re a writer, you understand that experience. It’s almost spiritual in nature and I think this experience is what keeps me writing. This strange relationship between author and character is the high I often refer to, the shot in the arm that causes writers to become literary junkies. Makes me wonder if author adrenalin can be measured and used as a tool to discover ones predisposition to writing. Hey! You never know. Science has proven some pretty incredible things.

Anyway, if you’re a reader, none of this really matters except the fact that the process might interest you. In the end, all that matters is that the book draws you in and that you can engage with the characters as they make their way through the journey. But know this, the folks inside those pages are friends of mine; they’re friends of King and their friends of Koontz and Konrath and Nicholson. And one day, if all goes as planned, they'll be your friend too. BOOM!

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